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921:; Sonya died of an infection contracted while giving birth to their son Abram; meanwhile, he had been carrying on an affair with a young woman, Jenny ("Jennya") Kaiser, who was also pregnant, with his son Charles. Depressed after Sonya's death, he passed up an offer to relocate to the United States, which was taken up instead by Mogulesko and Finkel. In winter 1887, an audience at the Princes Street Club panicked when they thought a simulated stage fire was real; 17 people died in the stampede. While the authorities determined that this was not Adler's fault, and the club was allowed to reopen, the crowds did not return; "the theater," he writes, "was so cold, dark, and empty you could hunt wolves in the gallery."
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564:—a businessman so successful as to have earned the nickname "the Jewish Tsar"—to get a job as a marketplace inspector for the Department of Weights and Measures, rather unusual for a Jew at that time. His mildly corrupt tenure there gave him good contacts with the police. These would soon come in handy for smoothing over certain problems of a young and unlicensed theater troupe when Rosenberg and Spivakofsky returned from Romania, penniless because the end of the war had meant the collapse of Yiddish theater in the provinces, and ready to start a troupe in Odessa.
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1198:, Adler went back briefly to Eastern Europe in summer 1903, where he tried to convince various family members to come to America. Although he was greeted as a hero, he was only partially successful in convincing people to leave; his mother, in particular, was determined to finish out her life where she was. (His father had died some years earlier.) He persuaded his sister Sarah Adler to follow him to America as her husband had died of heart disease in Verdun in 1897 and she was raising seven children on her own. She emigrated in 1905.
1807:, Spring 2004, which quotes Adler, "I was weak as a singer. I had not a good voice nor, I confess it, a very good ear. But is this why I turned from the operetta to purely dramatic plays? I think not. From my earliest years I leaned toward those plays where the actor works not with jests and comic antics, but with the principles of art; not to amuse the public with tumbling, but to awaken in them and in himself the deepest and most powerful emotions." Accessed online February 21, 2007.
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1054:, starring Adler and his new wife Sara was such a success that the play eventually transferred to Finkel's larger National Theater. This play (based only very loosely on Shakespeare) played well with the popular audience, but also with Jewish intellectuals who until this time had largely ignored Yiddish Theater, ending for a time the commercial dominance of operettas such as those of Horowitz and
387:(priest). His paternal grandfather lived with them for some eight years; he was a pious man, and the family was much more observant of Jewish religious practices during the time he lived with them. However, according to Adler, the real patriarch of the family was his wealthy uncle Aaron "Arke" Trachtenberg, who would later be the model for his portrayal of roles such as Gordin's Jewish King Lear.
634:. Goldfaden's own account says he came there at the urging of his father; Adler attributes it to Rosenberg and Spivakovsky's "enemies". Rosenberg, never the most ethical of men, withdrew his troupe from Odesa to tour the hinterland (soon, though, he would come to an accommodation by which his troupe would be an officially recognized touring company attached to Goldfaden's own troupe).
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picture of his time in London, although with some evasions around the relative timing of his relationships with his wife Sonya and with Jennya Kaiser and Dinah
Shtettin. It contains only a relatively fragmentary description of his New York career. In the English-language book of these memoirs, Rosenfeld attempts to fill the gaps with her own commentary.
1216:, and decided that he would do his own translation from Russian to Yiddish. The play was a great success, the first successful production of a Tolstoy play in the U.S., and Thomashefsky was so obviously happy for Adler that their friendship was renewed. Adler followed with equally successful productions of Gordin's dramatization of Tolstoy's
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many people who helped him out in various ways. Eventually, with the aid in particular of Sonya's relative Herman
Fiedler—a playwright, orchestra leader, and stage manager—the Adlers and the Grodners were able to take over the Prescott Street Club. There they presented generally serious theater to audiences of about 150. Fiedler adapted
1456:. I wept and swallowed my own tears... And I cursed the fate that bound me to him... Yet even as I cursed and condemned, the tears rose. For my whole life, my whole past, was before me on that stage... Poor weak first step of our Yiddish theater... I thank you for the happiness you gave us... I thank you Shmendrick—my beloved—my own."
961:. This gave him the basis to bring Dinah to America. Their marriage didn't last, though the divorce was amicable: she remarried, to Siegmund Feinman. Adler fell out with Heine, initially over business; at this time Heine's marriage was also falling apart, and Sara Heine would eventually become Sara Adler. Adler went on the road with
466:. Over the next few years he had numerous love affairs, and was prevented from a love marriage with one Esther Raizel because his own dubious reputation compounded the taint of his mother's divorce. He survived another pogrom, but his family was financially ruined by the destruction of their possessions and the theft of their money.
928:. His memoir is extremely unclear on the sequence of events, and hints at other affairs at this time. The memoir does make clear that the "hot-blooded" Jennya had little interest in a marriage, while Dinah's father insisted on a marriage, even though he despised Alder and made it clear that he doubted the marriage would last.
430:, "Jake the Fist". He soon got bored with boxing, but not with his new connections to the "sons of rich fathers, attorneys without diplomas", etc. A good dancer, he became part of a crowd of young toughs who regularly crashed wedding parties. His local celebrity continued, with a reputation as Odessa's best
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Playing to small audiences, on tiny stages, in communal troupes where all but the stars had day jobs, and playing only
Saturday and Sunday (the pious London Jews would never have tolerated Friday performances), Adler focused on serious theater like never before. However, he and Grodner soon fell out:
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At this time, Yiddish theater in London meant amateur clubs. The arrival of professional
Yiddish actors from Russia worked great changes, bringing Yiddish theater in London to a new level and allowing a modest professionalism, though never at much more than a poverty wage. Adler's memoir acknowledges
1182:, the great Shylock before that time, played Shylock as "morally superior to the Christians around him... driven to cruelty only by their more cruel persecutions." In contrast, "Adler scorned justification. Total vindication was his aim." In Adler's own words, "Shylock from the first was governed by
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The financial consequences of the collapse of their company were mitigated by a series of three benefit performances, in coordination with the local
Russian-language theater company. Sonya returned to Odessa to give birth to their daughter Rivka; Adler stayed on six weeks in Zhytomyr and had sort of
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By
November 1885, Adler had a theatrical club of his own, the Princes Street Club, No. 3 Princes Street (now Princelet Street, E1), purpose-built, financed by a butcher named David Smith. It seated 300; playing every night except Friday, he was earning about £3 s.10 a week, but with a fame well out
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Returning to New York, he and
Thomashefsky jointly leased The People's Theater, intending to use it on different nights of the week. Adler, exhausted from his Russian trip, was often leaving his nights unused, and Thomashefsky offered to buy him out for $ 10,000 on the condition that he would not
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nor
Maurice Heine at the Oriental Theater had any use for them. They headed on to Chicago, where, after a brief initial success, the troupe fell apart due to a combination of labor disputes and cutthroat competition. The Oberlanders managed to start a restaurant; he and Keni Liptzin headed to New
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reappeared. Adler wanted to include them in the group headed for London. According to Adler, Rosenberg, who played many of the same roles as Israel
Grodner, essentially told Adler "it's him or me". Adler attempted to convince him to change his mind, but insisted on including Grodner in the travel
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for "eagle"), he achieved his first theatrical success in Odessa, but his career there was rapidly cut short when
Yiddish theater was banned in Russia in 1883. He became a star in Yiddish theater in London, and in 1889, on his second voyage to the United States, he settled in New York City. Adler
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for the insult and humiliation he has suffered at his hands. This is why he goes so far as to bring his knife and scales into the court. For Shylock, however, the desired climax was to refuse the pound of flesh with a gesture of divine compassion. When the verdict goes against him, he is crushed
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With the aid of a small sum of money from his distant relative the Chief Rabbi, Adler got together the money to travel by steerage to New York, with his infant son Abrom, Alexander Oberlander and his family, Keni and Volodya Liptzin, and Herman Fiedler, among others. Adler did not doubt that the
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in 1916–1919, and briefly resumed in 1925 in an unsuccessful revival of that paper; his granddaughter Lulla Rosenfeld's English translation was published only in 1999. The 1916–1919 portion of the memoir gives a detailed picture of his Russian years. The 1925 portion gives a comparably detailed
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mentions all these children except Florence at least in passing (they are listed in the index, and their relation to him is identified there), but except for Frances and Stella, mentioned in a note on p.230, the book is not explicit that they are Sara's children. The entries for Sara Adler
1257:, the first purpose-built Yiddish theater in New York. His wife Sara had branched out to do her own plays at the Novelty Theater in Brooklyn, and the family had taken up residence in a four-story brownstone, with an elevator, in the East Seventies. (They would later move one more time, to
441:, a peddler; his memoir hints at back-door assignations with "servant girls and chambermaids"; by his own description, his life at this point was just a step from a life of crime. Through his uncle Arke, "a hot theater lover", he became interested in the theater, at first in the beauty of
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p.349 quotes this review: "A striking and original conception, wrought out not only of careful study, but above all from a racial sympathy, an instinctive appreciation of the deeper motives of this profound and complex character." Several other reviews, favorable and unfavorable, are
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This golden age was not to last. The years 1905–1908 saw half a million new Jewish immigrants to New York, and once again the largest audience for Yiddish theater was for lighter fare. Adler hung on, but the Thomashefskys were making a fortune at the Thalia; plays with titles like
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Returning to Odessa, he got a job distributing newspapers. This respectable work required getting up at 6 a.m., not good for a carouser. Still, newspaper connection meant that he soon heard of one of the war's other effects: the many Jewish merchants and middlemen war brought to
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they wrangled over ideology and over parts, and their verbal duels boiled over into improvised stage dialogue. The Grodners ultimately left to do theater in a series of other locations, notably Paris, but eventually came back to London, where Israel Grodner died in 1887.
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around 1862. He played hooky; as a 12-year-old he started going to witness public floggings, brandings, and executions of criminals; later he would develop more of an interest in attending courtroom trials. At 14 he began working in a textile factory, and soon rose to a
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party: Adler considered him one of the best actors in Yiddish theater, a great asset to any performances they would give in London, while he felt Rosenberg lacked depth as an actor. He tried to get Rosenberg to come with them to London, but Rosenberg would not budge.
822:, but nothing could have been farther from the rabbi's desires than to assist Yiddish-language theater. Nathan Marcus Adler viewed Yiddish as a "jargon" that existed at the expense of both liturgical Hebrew and the English necessary for upward mobility, and his
598:), set in 19th-century Russia. On the other, until his 50s, he was not hesitant to take advantage of his prowess as a dancer, and even occasionally took on roles that called for some singing, although by all accounts (including his own) this was not his forte.
2208:, April 29, 1953, p. 29), mentions Luther, Stella, Frances, Julia, and "Jack" (presumably Jay) as surviving children by Adler; plus stepsons "Adolph" (presumably Abe) and Charles and stepdaughter Celia; plus her sons Joseph and Max Heine by a former marriage.
482:. He writes that he would have become a Brody singer, like Grodner, except "I had no voice". This lack of a singing voice would be a major factor in the direction of his acting career: according to Rosenfeld, although Yiddish theater was long dominated by
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played, at a memorial for Goldfaden in 1912. Lamenting the choice of play for the memorial—"Goldfaden has written better things"—he nonetheless acknowledges, "that same bitter Shmendrick was our livelihood... I gritted my teeth. I called on the ghosts of
688:. Around this time Goldfaden appeared again and, after using an elaborate intrigue to demonstrate to the Adlers that Rosenberg had no loyalty to them, recruited them to his own troupe, which at the time appeared to be headed for a triumphant entry into
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Lulla Rosenfeld's remark that Adler "...rel entirely on classics and translations of modern European plays" does not quite tell the whole story. On one hand, he was also responsible for recruiting the Yiddish theater's first naturalistic playwright,
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The troupe were left stranded in Riga. Chaikel Bain took ill and died. With some difficulty, passage to London for the troupe was arranged on a cattle ship, in exchange for entertaining the crew. However, about this time Israel Grodner and his wife
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Late in life, when he looked back at his years acting in Adler and Goldfaden's companies, Adler saw it as merely the "childhood" of his career. He describes his thoughts toward the end of this period, "For three years I had wandered in the cave of
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camped in the courtyards awaiting performances. Even the police seemed to have "fallen in love" with the troupe, dressing up the actors in their uniforms at riotous parties after shows, while trying on the troupe's costumes themselves.
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as looking as if they "had come out of their mothers already gray and old." Of his early London years, he writes, "We played for a tiny audience, on a stage the size of a cadaver, but we played well, with a drunkenness of happiness."
740:, under an incompetent investor/director named Hartenstein. They thought they had found "a quiet corner" of the Russian Empire in which "to make a bit of a livelihood", but in fact Hartenstein was simply running through his money.
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because he has been robbed of this opportunity, not because he lusts for Antonio's death. This was my interpretation. This is the Shylock I have tried to show." After his two Broadway triumphs, Adler returned to Yiddish theater.
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Of his time in London, Adler wrote, " if Yiddish theater was destined to go through its infancy in Russia, and in America grew to manhood and success, then London was its school." Adler arrived in London with few contacts. In
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Adler was not content to continue long in this mode, and sought a playwright who could create pieces that would appeal to the Jewish public, while still providing a type of theater he could be proud to perform. He recruited
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Returning to Odesa, he discovered that no one would employ him in any job other than as an actor. In 1882, he put together a troupe of his own with Keni Liptzin, and brought Rosenberg in as a partner. This troupe toured to
383:. She became estranged from her family after divorcing her first husband (and leaving behind a son) to marry Adler's father. The marriage to a divorcée cost Feivel Adler (and therefore Jacob Adler) his status as a
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and improvisational actor who would soon become one of the founders of professional Yiddish theater. A song of Grodner's about an old father turned away by his children would later be the germ of the idea for
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review of Adler's performance was not favorable: in particular his naturalistic acting style was not what audiences of the period expected in a production of Shakespeare. Some other reviews (such as that in
719:. The troupe managed to avoid bodily harm, partly by convincing the rioters that they were a French theater troupe and partly by making judicious use of the money the Adlers had won in court from Goldfaden.
1141:. Frequently the works of the great contemporary playwrights—even Shaw, who was writing in English—would be staged in New York in Yiddish years, even decades, before they were ever staged there in English.
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return to performing in New York. Adler was so insulted that the two did not speak for months, even though at the time they were living across a courtyard from one another, and could see into each other's
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and Chicago, where word arrived of an opportunity to take over Poole's, Heine having moved on to the Thalia. Adler returned to New York, where he managed also to win Mogulesko and Kessler away from Heine.
699:. The mourning for the tsar meant there would be no performances in the capital; in addition the political climate of Russia turned sharply against the Jews. Goldfaden's troupe soldiered on for a time—to
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Adler aspired to be an actor, but found himself at first serving the troupe more as critic and theoretician, making use of his now-vast knowledge of Russian theater. The first productions (Goldfaden's
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county school, pulled out of school entirely, or have a private tutor for a few months. He wrote that "the sum of my learning was a little arithmetic, some Russian grammar, and a few French phrases."
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York that autumn, where she managed to sign on at the Romanian Opera House; failing to find a similar situation for himself, he returned to London, drawn back to the charms of both Dinah and Jennya.
1322:": the character is "a sick and broken man", so the Adler was able to integrate his own physical weakness into the portrayal. However, March 31, 1926, he collapsed suddenly, dying almost instantly.
810:, the center of Jewish London at that time, he encountered extremes of poverty that he describes as exceeding any he had ever seen in Russia or would ever see in New York. The Chief Rabbi of the
654:. He overstayed his leave, lost his government post, and the decision to become a full-time actor was effectively made for him. Adler was unhappy that under Tulya Goldfaden there were "No more
914:, which introduced Schiller into Yiddish theater. On at least one occasion in 1886, he played both Franz Moore and the play's hero, Franz's brother Karl Moore: in the play they never meet.
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a belated apprenticeship with two Russian character actors of national fame, Borisov and Philipovsky. However, he returned to Odesa thinking that he would most likely leave theater behind.
674:. When this particular troupe broke up, the Adlers were among the few players to remain with Rosenberg to form a new one that included the actress who later became famous under the name of
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patients. In his four months there, he became a favorite with the established Jewish families there, and earned a Gold Medal for Outstanding Achievement for his brief service to the Tsar.
456:, was working as a copyist for lawyers, and going out to a theater, a tavern, or a party every night. He would later draw on his own life at this time for his portrayal of Protosov in
949:, which was under Austrian rule, he returned to London in the spring of 1889, and then again to New York, this time to play for Heine at Poole's Theater. After an initial failure in
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Adler led an unsuccessful actors' strike. A series of intrigues almost led to a breakup with Sonya, but ultimately led both back into Rosenberg's troupe and led to their marriage in
610:(and of her family) for theater, and their vision of what Yiddish theater could become, kept him in the profession despite his uncle's view. When she was cast by Rosenberg opposite
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577:) were popular successes, but Adler's own account suggests that they were basically mediocre, and his Uncle Arke was appalled: "Is this theater? No my child, this is a circus."
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His and Sonya's daughter Rivkah (Rebecca) died at the age of 3. Sonya died from an infection contracted while giving birth to their son Abram in 1886. Abram's son
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in the clown's rags of Shmendrick and what did I really know of my trade?... If someday I return to the Yiddish theater, let me at least not be so ignorant."
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as an organized system of ideas, he probably knew little or nothing." His education was irregular: as the family fortunes rose and fell, he would be sent to
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nearly ended his acting career, although he continued to appear occasionally, usually as part of a benefit performance for himself, often playing Act I of
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Over the next decades, Adler would play in (or, in some cases, merely produce) numerous plays by Gordin, but also classics by Shakespeare, Schiller,
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Adler grew up with one foot in a traditional Jewish world and one in a more modern, European one. His granddaughter Lulla Rosenfeld writes, "Of the
1310:: the title character remains seated throughout the entire act. In 1924, he was well enough to perform in the title role of a revival of Gordin's
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His success in the role was cut short by the news that Goldfaden, whose plays they were using without permission, was coming with his troupe to
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1370:. While still married to Sonya, Adler had an affair with Jenny "Jennya" Kaiser, with whom he had a son, stage actor Charles Adler (1886–1966).
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at Moishe Finkel's National Theater, the Union Theater temporarily to abandon its highbrow programming and competed head on, with operettas
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soon started a company of his own, ushering in a new, more serious Yiddish theater, most notably by recruiting the Yiddish theater's first
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Renaming Poole's as the Union Theater, Adler attempted to produce the most serious Yiddish-language theater New York had yet seen in the
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were present, and both, especially the younger rabbi, were favorably impressed. There were even mentions in the English-language press.
711:, where he and Sonya ended up having to sue Goldfaden for their pay, and left to rejoin Rosenberg, who was playing in a tent theater in
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shares, no more idealistic comradeship". Still, under this same Goldfaden regime he had his first taste of real stardom when people in
736:, the first of a series of roles through which he developed a persona he would later call "the Grand Jew". After Łódź, they landed in
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rabbi was glad to see Yiddish actors leaving London. In New York, they promptly discovered that neither Mogulesko and Finkel at the
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a month, which would have been decent even for an adult. Still living at home, he began to frequent the disreputable district of
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1030:, already a well-respected novelist and intellectual, recently arrived in New York and eking out a living as a journalist at the
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In a small essay, "Shmendrick, My Mephistopheles", one of the last passages he wrote, Adler describes the last time he saw
553:, scion of a wealthy Jewish family—had become actors there, then had left Goldfaden to found their own company, touring in
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513:, an assistant in the Red Cross Medical Corps. He was selected (apparently on little more than his appearance) by Prince
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953:(he writes that the New York audience of the time was not ready for "tragicomedy"), he was a success in the melodrama
776:). Aiming to bring the troupe to Saint Petersburg, they brought back their sometime manager Chaikel Bain. They were in
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from right: Jacob P. Adler, Zigmund Feinman, Zigmund Mogulesko, Rudolf Marx, Mr. Krastoshinsky and David Kessler, 1888
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Adler's affair with Jennya continued; he also took up with a young chorus girl from an Orthodox Jewish family,
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830:"; further, he was afraid that the portrayals of Jews on stage would give aid and comfort to their enemies.
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1407:, Sarah's daughter, became a Broadway actress, who also appeared in films. He was the great-uncle of actor
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in August 1883 when the news arrived that a total ban was about to be placed on Yiddish theater in Russia.
490:, "He was the only Yiddish actor to rely entirely on classics and translations of modern European plays."
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wrote a piece saying that Yiddish theater in New York had eclipsed English-language theater in quality.
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One of Adler's roles from this period was as the villain Franz Moore in Herman Fiedler's adaptation of
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2200:) list her as the mother of these six, but also incorrectly list her as Charles Adler's mother. Her
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965:, who at the time was pioneering the touring circuit for Yiddish theater in America. They played in
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of proportion to the meagre money. Many of the most prominent figures in Yiddish theater, including
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By his own account, Adler took a leave of absence from his job to travel with Rosenberg's troupe to
379:. His mother, née Hessye Halperin, was a tall, beautiful woman, originally from a wealthy family in
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In 1919–1920, Adler, despite his own socialist politics, found himself in a labor dispute with the
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In writing about this period in his memoir, Adler mentions attending and admiring performances by
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pp.284–299. Adler does not refer to "Jennya" by name, but translator/commentator Rosenfeld does.
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Adler writes vividly and with humor. He describes the director Hartenstein as "a young man from
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His sister Sarah/Soore Adler and her seven children emigrated to New York in 1905. His niece,
449:'s clothes, but he had the good fortune to be in one of the great theater cities of his time.
1277:(1909). It would be 1911 before Adler scored another major success, this time with Tolstoy's
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magazine) were friendlier; in any event the same production was revived two years later.
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2165:. Adler does not refer to "Jennya" by name, but translator/commentator Rosenfeld does.
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A photograph of Adler as Shylock in a late 19th century performance of Shakespeare's
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Adler's memoirs were published in the New York socialist Yiddish-language newspaper
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were commercial failures—so much so that Mogulesko and Kessler quit the company—but
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Nearly all his family went into theater; probably the most famous was his daughter
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901:(the future Sara Adler), gave guest performances when they passed through London.
850:. Adler starred in it, in a role he would continue to play throughout his career.
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Adler managed to leverage a recommendation from Prince Meshersky and another from
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He grew up with both Jewish and Christian playmates, but also survived one of the
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on the Yiddish stage at the People's Theater, he played the role again in a 1903
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375:). Adler's father, Feivel (Pavel) Abramovitch Adler, was a (rather unsuccessful)
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Resting Places: The Burial Sites of More than 14000 Famous Persons, Scott Wilson
627:, she pulled strings so that the role of Guberman would be reassigned to Adler.
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2266:"The Sunshine Boys lights up Connecticut stage…with two veteran Jewish actors"
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19:"Jacob Adler" redirects here. For the economics and business professor, see
2518:"The Jacob P. Adler Family Photograph Collection, 1870s–1930s, Finding Aid"
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of young men. At his family's urging, Adler bribed his way into becoming a
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Theatre to an audience of 500, including the "Jewish aristocrats of the
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Besides the abovementioned "I had no voice" remark, see Stefan Kanfer,
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1002:. However, after Thomashefsky became an enormous popular success in
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Russia-born British, and American Yiddish-language actor (1855–1926)
978:
761:
737:
704:
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554:
487:
391:
636:(For greater detail on Adler's time with Rosenberg's company, see
545:'s nascent Yiddish theater there. Two of his Odessa acquaintances—
340:
would form the core of the persona he defined as the "Grand Jew".
1207:
1145:
858:
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648:, where he made a successful acting debut as the lover Marcus in
645:
557:. Adler wrote them to urge them to bring their troupe to Odessa.
526:
457:
431:
372:
337:
332:), set in 19th-century Russia, which along with his portrayal of
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He did not remain long in London. After some major successes in
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Adler wrote in his memoir that the passion of his future wife
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solidified this change in the direction of Yiddish theater.
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384:
322:. Adler scored a great triumph in the title role of Gordin's
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Ukraine, Moldova, Belarus, Poland, Lithuania, Latvia, Russia
422:. His first brush with stardom was that he briefly became a
2193:
777:
2462:"The Great Eagle: great Yiddish actor-legend, Jacob Adler"
1380:
He and Sara Heine had six children: the well-known actors
1298:; he played that season in London rather than New York. A
1364:(1916–1964) was, among other things, the screenwriter of
1016:
Titus Andronicus, or the Second Destruction of the Temple
276:
1779:
1777:
2574:
Emigrants from the Russian Empire to the United Kingdom
873:. Chief Rabbi Adler and his son and eventual successor
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rather than revenge. He wishes to humble and terrify
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where they played mainly to Russian soldiers, and to
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2287:
2240:"Jerry Adler Is In Transitions -- And 'Transparent'"
1609:
1607:
2481:Prager, Leonard (November 6, 1997). "Shakespeare's
2068:
2066:
2425:
2343:. Translated by Lulla Rosenfeld. New York: Knopf.
2336:
2204:obituary ("Sarah Adler Dies; Yiddish Stage Star",
1431:with long hair and short brains, half educated in
2508:Rosenfeld, Lulla (June 12, 1977). "The Yiddish".
2284:
1604:
1353:(m. 1887- divorced. 1891) and finally to actress
1166:while the rest of the cast spoke in English. The
2535:
2063:
1435:, and half an actor", and refers to the poor of
695:All that changed with the assassination of Tsar
2427:"Yiddish Shylock Viewed From Ghetto Standpoint"
1575:. Stella Adler Studio of Acting. Archived from
1162:. In this production, Adler spoke his lines in
1506:
1504:
1109:; and the works of modern playwrights such as
846:, a tragicomic play written on the eve of the
726:, Adler triumphantly played the title role in
1719:
1717:
1333:He is buried in Old Mount Carmel Cemetery in
290:, and later in London and in New York City's
2579:American people of Ukrainian-Jewish descent
1501:
275:; February 12, 1855 – April 1, 1926) was a
27:. For the Yiddish writer and humorist, see
1714:
1494:
1492:
46:
2507:
2443:Shakespeare on the American Yiddish Stage
2440:
2108:pp.230 (commentary), 372–378 (commentary)
1373:Adler and Dinah Shtettin had a daughter,
2488:Mendele: Yiddish literature and language
2468:. published online at Jewish-Theatre.com
1526:
1524:
1522:
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1388:(1901–1992) and the lesser-known actors
1345:Adler was married three times, first to
1324:
1228:
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977:
917:In 1886, Adler's daughter Rivka died of
796:
493:
452:At 17 he became the leader of Glebova's
255:
2459:
2445:. Iowa City: University of Iowa Press.
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1273:were far outdrawing fare like Gordin's
148: 1880; died 1886)
2536:
2480:
358:
2353:. Commentary by Lulla Rosenfeld.
2334:
1513:
1302:in 1920 while vacationing in upstate
1206:apartments. Adler decided to perform
931:
2594:Male actors from the Russian Empire
2134:pp. 152–154, 261, 294–295, 314, 323
13:
398:(Jewish religious school) or to a
271:: יעקבֿ פּאַװלאָװיטש אַדלער; born
14:
2605:
2399:
2371:
957:, and "a more worthy success" in
666:Unsatisfied with the low pay, in
23:. For the German theologian, see
2393:Dictionary of National Biography
2050:"Yiddish Shylock Viewed..." 1903
1723:Lulla Rosenfeld, "The Yiddish",
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437:He left the factory, becoming a
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1144:Having already famously played
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2491:. Vol. 07. Archived from
2219:"Theater Hall of Fame members"
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1552:
1543:
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1480:
1287:), translated into Yiddish by
990:, with plays such as Scribe's
1:
2460:Nahshon, Gad (October 2001).
2339:A Life on the Stage: A Memoir
2328:
1794:The Yiddish Theater’s Triumph
1398:American Theater Hall of Fame
569:Grandmother and Granddaughter
2421:Accessed September 29, 2006.
1245:built in what was to be the
1178:Lulla Rosenfeld writes that
1038:. Gordin's first two plays,
853:Two months later, he played
549:, a personable con-man, and
515:Vladimir Petrovich Meshersky
414:job there at a salary of 10
7:
2584:Jewish American male actors
2466:The Jewish Post of New York
2436:. May 31, 1903. p. 10.
1799:September 27, 2011, at the
1459:
973:
25:Jacob Georg Christian Adler
10:
2610:
2589:Yiddish theatre performers
2410:Internet Broadway Database
2363:: CS1 maint: postscript (
2190:Internet Broadway Database
1601:p. 33 for status as Kohen.
1470:, 1906 play starring Adler
1058:. The next year, Gordin's
18:
2559:People from Odessky Uyezd
1870:pp. 172−179, 189, 192–197
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1347:Sophia (Sonya) Oberlander
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211:
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38:
2441:Berkowitz, Joel (2005).
1569:"Stella Adler biography"
1474:
1247:Yiddish Theater District
1237:, some time before 1906.
1222:and the Gordin original
1158:production, directed by
988:Yiddish Theater District
895:Abba and Clara Shoengold
292:Yiddish Theater District
2525:library.hunter.cuny.edu
1558:, pp. 200–209, 321–325.
1004:Moses Halevy Horowitz's
592:Der Yiddisher King Lear
562:Avrom Markovich Brodsky
324:Der Yiddisher King Lear
2554:Male actors from Odesa
2483:The Merchant of Venice
1392:(1896–1978), Frances,
1330:
1271:Minke the Servant Girl
1241:In 1904 Adler had the
1238:
1151:The Merchant of Venice
1074:
983:
844:The Ragpicker of Paris
802:
529:, dealing mainly with
261:
2569:Jewish Russian actors
2406:Jacob Pavlovich Adler
2335:Adler, Jacob (1999).
2186:Jacob Pavlovich Adler
1452:, of Shakespeare, of
1349:(died 1886), then to
1328:
1308:The Yiddish King Lear
1232:
1213:The Power of Darkness
1101:Alexandre Dumas, fils
1068:
1051:The Yiddish King Lear
1012:Judith and Holofernes
981:
800:
651:The Witch of Botoşani
614:in the title role of
505:brought on universal
480:The Yiddish King Lear
265:Jacob Pavlovich Adler
259:
40:Jacob Pavlovich Adler
2014:pp. 299–301, 305–309
2005:pp. 292–293, 300–304
1536:pp.98–102, 108, 114
1296:Hebrew Actors' Union
1261:.) Around this time
1089:; dramatizations of
998:, and Sinckievich's
939:Romanian Opera House
596:The Jewish King Lear
501:The outbreak of the
329:The Jewish King Lear
173: 1887;
29:Jacob Adler (writer)
1194:In the wake of the
982:Jacob Adler in 1902
848:Revolutions of 1848
816:Nathan Marcus Adler
768:, to Dünaburg (now
359:Childhood and youth
2512:. pp. 25, 32.
2510:The New York Times
2433:The New York Times
2304:p.309 (commentary)
1579:on August 29, 2006
1405:Francine Larrimore
1331:
1275:Dementia Americana
1239:
1075:
1071:Merchant of Venice
984:
963:Boris Thomashefsky
814:at that time, Dr.
803:
363:Adler was born in
351:to, among others,
262:
248:Francine Larrimore
2527:. Hunter College.
2374:The Art of Acting
2246:. August 28, 2017
1664:Yankele Kulachnik
1280:The Living Corpse
1249:at the corner of
1148:in Shakespeare's
1127:Gerhart Hauptmann
1091:George du Maurier
951:The Odessa Beggar
932:Coming to America
887:Sigmund Mogulesko
836:The Odessa Beggar
624:Breindele Cossack
616:Abraham Goldfaden
612:Jacob Spivakovsky
551:Jacob Spivakofsky
543:Abraham Goldfaden
503:Russo-Turkish War
463:The Living Corpse
428:Yankele Kulachnik
254:
253:
115:Years active
65:February 12, 1855
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1467:Solomon the Wise
1384:(1903–1984) and
1367:Forbidden Planet
1335:Glendale, Queens
1263:Lincoln Steffens
1204:St. Mark's Place
1135:Victorien Sardou
1032:Arbeiter Zeitung
1020:Hymie in America
996:Samson the Great
824:Orthodox Judaism
690:Saint Petersburg
638:Israel Rosenberg
618:'s darkly comic
608:Sonya Oberlander
547:Israel Rosenberg
400:Russian language
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1139:Leonid Andreyev
1056:Joseph Lateiner
1034:, precursor to
1008:David ben Jesse
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955:Moishele Soldat
934:
869:so as to avoid
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541:were a boon to
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445:and the cut of
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273:Yankev P. Adler
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812:British Empire
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581:Acting career
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347:, who taught
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91:New York City
83:April 1, 1926
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52:Adler in 1920
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2524:
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2497:. Retrieved
2493:the original
2487:
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2390:
2383:1-557-833737
2373:
2338:
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2269:
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2248:. Retrieved
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2222:. Retrieved
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2179:
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2010:
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1805:City Journal
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1659:
1654:
1645:
1640:pp.13–14, 30
1636:
1627:
1618:
1598:
1593:
1581:. Retrieved
1577:the original
1572:
1563:
1554:
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1510:Nahshon 2001
1482:
1465:
1454:Lope de Vega
1450:Aristophanes
1444:
1442:
1426:
1420:
1418:
1402:
1386:Stella Adler
1379:
1372:
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1312:The Stranger
1311:
1307:
1293:
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1255:Canal Street
1240:
1224:The Homeless
1223:
1219:Resurrection
1217:
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1180:Henry Irving
1177:
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1060:The Wild Man
1059:
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1028:Jacob Gordin
1024:
1019:
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967:Philadelphia
959:Uriel Acosta
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855:Uriel Acosta
854:
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733:Uriel Acosta
731:
728:Karl Gutzkow
721:
697:Alexander II
694:
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676:Keni Liptzin
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629:
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521:hospital in
510:
507:conscription
500:
494:
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475:Brody singer
468:
461:
451:
443:Olga Glebova
438:
436:
427:
412:white collar
404:
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342:
327:
323:
320:Jacob Gordin
318:playwright,
306:
302:
298:
296:
282:and star of
272:
264:
263:
85:(1926-04-01)
33:
2549:1926 deaths
2544:1855 births
2415:Jacob Adler
2090:pp.359, 361
2032:pp. 316–321
2023:pp. 309–315
1951:pp. 239–246
1942:pp. 232–236
1834:pp.107, 111
1783:pp. 321–325
1662:, p.29 for
1549:pp.232–321.
1437:Whitechapel
1421:Die Varheit
1409:Jerry Adler
1375:Celia Adler
1362:Allen Adler
1329:Jacob Adler
1320:Enoch Arden
1289:Leon Kobrin
1131:Victor Hugo
1036:The Forward
911:The Robbers
808:Whitechapel
801:Jacob Adler
656:communistic
484:vaudevilles
426:, known as
334:Shakespeare
297:Nicknamed "
286:, first in
243:Allen Adler
2564:Odesa Jews
2538:Categories
2472:October 1,
2329:References
2322:pp.365–367
2224:January 9,
2143:pp.284–286
1987:pp.282–283
1969:pp.248–251
1915:pp.222–225
1897:pp.218–220
1888:pp.215–216
1879:pp.200–209
1861:pp.168–170
1852:pp.138–157
1816:pp. 98–102
1767:pp.76–97,
1658:pp.19–22;
1445:Shmendrick
1355:Sara Adler
1285:Redemption
1123:Strindberg
1046:Two Worlds
899:Sara Heine
867:ram's horn
840:Felix Pyat
770:Daugavpils
668:Kremenchuk
574:Shmendrick
439:raznoschik
420:Moldovanka
309:being the
245:(grandson)
188:Sara Adler
107:Occupation
2359:cite book
2276:April 23,
2250:April 23,
1754:pp.71–73
1736:pp. 43–53
1486:p.xxiii,
1006:operetta
1000:Quo Vadis
871:blasphemy
766:Lithuania
764:, around
750:the Witch
680:Chernihiv
539:Bucharest
488:operettas
381:Berdichev
316:realistic
239:Relatives
118:1878–1924
2163:et. seq.
1933:, p. 256
1797:Archived
1702:pp.32–35
1675:pp.22–24
1540:222–225.
1538:et. seq.
1460:See also
1316:Tennyson
1304:New York
1156:Broadway
1087:La Juive
992:La Juive
974:New York
906:Schiller
863:West End
762:Taganrog
738:Zhytomyr
705:Bobruisk
660:Chişinău
620:operetta
555:Moldavia
434:dancer.
212:Children
2408:at the
2391:Oxford
2294:passim.
2244:Showriz
2188:at the
2161:p. 291
2128:passim.
2060:quoted.
1758:, 84–85
1756:et.seq.
1429:Galicia
1208:Tolstoy
1188:Antonio
1173:Theater
1164:Yiddish
1146:Shylock
1106:Camille
1079:Lessing
1041:Siberia
859:Holborn
857:at the
828:in vain
786:Annetta
709:Vitebsk
672:Poltava
646:Kherson
527:Moldova
511:sanitar
495:Sanitar
458:Tolstoy
432:can-can
392:haskala
373:Ukraine
338:Shylock
269:Yiddish
250:(niece)
205:
197:
193:
179:
167:
163:
150:
142:
138:
123:Spouses
2449:
2380:
2347:
2130:, but
2072:p. 350
1771:82, 96
1631:pp.6–7
1613:p.xxiv
1433:Vienna
1415:Memoir
1382:Luther
1341:Family
1300:stroke
1251:Bowery
1137:, and
1096:Trilby
1018:, and
947:Warsaw
897:, and
820:Hebrew
793:London
774:Latvia
758:Rostov
717:pogrom
713:Nizhyn
531:typhus
523:Bender
519:German
454:claque
416:rubles
396:cheder
365:Odessa
345:Stella
311:German
288:Odessa
277:Jewish
233:Luther
229:Stella
93:, U.S.
69:Odessa
2521:(PDF)
2174:p.312
2152:p.386
1906:p.218
1843:p.124
1660:ibid.
1599:ibid.
1475:Notes
1394:Julia
1184:pride
1115:Ibsen
1111:Gorky
919:croup
838:from
701:Minsk
678:. In
632:Odesa
424:boxer
385:Kohen
371:(now
307:Adler
301:", ("
280:actor
225:Julia
217:Celia
199:(
195:
169:(
165:
144:(
140:
110:Actor
2501:2006
2474:2006
2447:ISBN
2419:IMDb
2378:ISBN
2365:link
2345:ISBN
2278:2019
2252:2019
2226:2024
2196:and
2194:IBDb
2132:esp.
1769:esp.
1711:p.36
1693:p.32
1649:p.19
1585:2006
1318:'s "
1253:and
1233:The
1119:Shaw
1099:and
1044:and
778:Riga
724:Łódź
571:and
486:and
473:, a
175:div.
80:Died
58:Born
2417:at
2206:NYT
2192:at
1390:Jay
1210:'s
1093:'s
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221:Jay
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